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Akai s950 sampler

February 27th, 2009 3 comments

Martedì scorso è arrivato da Rimini il mio nuovo campionatore: un Akai s950, anno di uscita 1988. Insieme alla macchina mi è arrivato anche il manuale in italiano, fondamentale per evitare lo sclero e la fatica della traduzione, e il cavetto di alimentazione, anch’esso fondamentale perchè non avrei saputo dove trovarne uno uguale. Il suono di questa macchina è veramente bello, al tempo stesso pulito e sporco con dei bei bassi profondi, una frequenza di campionamento massima di 48000 hz. I filtri hanno un suono molto particolare e in molti sono convinti che l’s950 sia il miglior campionatore che sia mai stato fatto. Non è uno strumento obsoleto, in molti studi viene ancora usato e con questa macchina sono state realizzate tonnellate di dischi di vari generi: techno, rap, drum&bass, jungle, insomma ci è stato fatto un po’ di tutto. Pete Rock molti altri produttori di rap e hip hop strumentale lo hanno usato massicciamente nelle loro produzioni fino a farlo divenire un marchio distintivo, il suono di quei filtri passa bassi, degli ADSR e delle LFO semplicemente è hip hop. La macchina funziona (sembra) in tutte le sue parti, anche se non sono riuscito a far suonare insieme le uscite L e R sul pannello posteriore, sono riuscito a farle funzionare soltanto una alla volta, devo ancora studiare un bel po’ di manuale. La luce del display non funziona però i caratteri sono comunque leggibili; dovrebbe essere
abbastanza semplice la riparazione magari con l’aiuto di qualche amico
tecnico (io sono abbastanza allergico all’elettrotecnica). Sono ancora ai primi passi con questa macchina, non l’avevo mai usata prima, ma per quel poco di manuale che sono riuscito a leggere mi sembra anche abbastanza facile da usare, ho già campionato un po’ di suoni e oggi sono riuscito a programmare i vari gruppi di tasti e ad assegnare ad ogni gruppo un suono diverso. Per adesso sto usando il microKORG come controller midi; penso di testarla al più presto con la drumachine SP 1200. Dicono che in coppia le due macchine siano una forza. Avrei bisogno di una espansione di memoria che però ,guardando i prezzi su internet, mi sembra un po’ troppo cara: 195 € per una scheda da 750 mb è veramente troppo considerato che il campionatore l’ho pagato 100 € usato. Comunque anche senza espansione di memoria si possono fare un bel po’ di cosette si possono registrare molti samples su un solo dischetto floppy (la quantità di sample che si può salvare in memoria e nel floppy dipende dal sample rate e dalla durata del sample, senza espansione posso salvare credo poco piu’ di 8 secondi a 48000 hz). Altro upgrade che dovrei fare sarebbe prendere un disco rigido da collegare con il campionatore per salvare i dati e richiamarli più velocemente, il floppy da 3,5" è lento, ma si puo’ lavorare anche con quello.

"This is a sampling sport"

Can i get a witness?It takes a nation of millions to hold us back LP (Public Enemy)

^^ Akai s950

^^ manuale in italiano

– clicca sulle immagini per ingrandire – 

manuale in lingua inglese — akai s950 manual.pdf

Akai s950 info su wikizic — http://it.wikizic.org/Akai-S950/

Akai s950 videos — http://www.softwaretutorialvideos.net/video-theme/akai+s950.html

Akai s950 info su wikipedia english — http://en.wikipedia.org/wiki/Sampler_(musical_instrument)#Akai

Categories: beat making Tags:

TAYONE PAURA E CLEMENTINO live @ Strike – Roma. Sab 7.3.2009

February 25th, 2009 1 comment

Grind The Street 2
7 marzo 2009

ore 16 — graffiti live performance WILDBOYS da Napoli

ore 18 — freestyle jam con CLEMENTINO, PAURA, DJ JUVERRE & guests — FREEBREAKDANCE con BOLOGNINA BREAKERS

ore 23 — live show:

MANO ARMATA

EMPATIA VENEFICA

CLEMENTINO + PAURA + TAYONE

Strike – via U. Partini 21 Casalbertone, Roma

Survival Of The Vinyl – X.A. Cute feat. Mike Ladd

February 23rd, 2009 Comments off

Survival Of The Vinyl – X.A. Cute feat. Mike Ladd (traccia tratta dalla compilation The Wire Tapper 19)

http://noblogs.org/flash/mp3player/mp3player.swf

info: http://www.thewire.co.uk/

Image: The Wire Tapper #19
cover del cd "The Wire tapper 19"

 

Categories: beat making, emceeing Tags:

DOOM dropped the “MF”

February 22nd, 2009 Comments off

Sta per uscire il nuovo lp di Doom – non più MF Doom, ma soltanto Doom. Nei negozi da marzo 2009

qui c’è l’anteprima dell’album in formato mp3:

http://www.megaupload.com/?d=SPOG7BGW 

This joint called "That’s That" is straight from his new album "Born Like This". In stores this March 2009.

© Lex Records

*Note: DOOM dropped the "MF"*

LYRICS:

Already woke, spared a joke, barely spoke, rarely smoke
Stared at folks when properly provoked, mirror broke
Here, share strawberry morinin, gone an more important spawnin
Torn in, poor men sworn in
Cornish hens switchin positions, auditionin’ mortitions
saw it in a vision, ignorin prison
Ignoramuses enlist and sound dumb
Found em drowned in cows dung, crowns flung
Rings a tinkerbell, sing for things that’s frail as a fingernail
Bring a scale, stale ginger lingers
Seven figures invigor
Nigga, fresh from out the jail, alpha male
Sickest ninja injury this century, enter plea
Lend sympathy to limper simple simon rhymin emcees
Trees is free, please leave a key
These meager fleas, he’s the breeze
And she’s the bees knees for sheez
G’s of G’s
Seize property, shopper sprees, chop the cheese
Drop the grease to stop diseases, gee wiz pa!
DOOM rock grandma like the kumbaya!
Mama was a ho hoppa, papa was a rollingstone
Star like Obama, pull a card like oh drama!
Civil liberties
These little titties abilities riddle me, middle C
Give a MC a rectal hysterectomy
Electron removal of the bowls, foul technically
Don’t expect to see the recipe
Until we receive the check as well as the collection fee
More wreck than section Z
What you expect to get for free?
Shit from me, history
The key, plucked it off mayor
Chucked it in the ol tar pit off La Brea, playa
They say he’s gone too far
DOOM’ll catch em after Jumar on cue lacka!!
Do what’cha gotta do, grarrrr
The rumors are not true, got two ma
No prob, got the job, hot barred heart throb
Scotch Guard the bar the with cotton swabs, dart lob
Bake a cake, sweet
Jamaica trade in treats on the beach
Make a skeet til her feets meet

Can it be I stayed away too long?
Did you miss these rhymes when I was gone?
As you listen to these crazy tracks
Check them stats then you know where I’m at
And that’s that

info: http://metalfaced.blogspot.com/ 

Categories: beat making, emceeing Tags:

STORYBOARD looper

February 20th, 2009 Comments off

nuovo looper prodotto da Surre (Looperatoritaliani)

Beats production: Surre

Graphix: Demosthene

storyboard looper download link

listone looper dei Looperatori Italiani:

http://www.djbla.com/music/looper/listone.html

listone swf — http://www.autistici.org/2000-maniax/looper/looperatoritaliani%20swf%20philes/ 

Categories: arte, beat making, deejaying, flash looper Tags:

SHADES OF DIGITAL looper trailer

February 20th, 2009 Comments off

prossimamente sui vostri monitor

 

Categories: flash looper Tags:

LEE “SCRATCH” PERRY & ADRIAN SHERWOOD @ Auditorium FLOG (FI) 20.3.2009

February 18th, 2009 Comments off

THE MIGHTY UPSETTER DUB SESSION + REGGAE DANCEHALL

« The recording studio was my spaceship that was polluted by the dreadlocks in the moonlight. »
(Lee "Scratch" Perry)

Lee "Scratch" Perry a.k.a. The Upsetter, King, Little e Pipecock Jaxxon (Kendal, 20 marzo 1936), è un produttore discografico, musicista e cantante giamaicano. E’ una delle figure più importanti della musica giamaicana (reggae, dub, ska) e mondiale dell’ultimo mezzo secolo e uno dei personaggi più influenti nella storia del pop mondiale. Principalmente lavora come produttore musicale, ma anche cantante, musicista, talent scout e fonico,
ha lavorato con la maggiorparte degli artisti giamaicani sin dagli
albori del reggae, anticipandone spesso tendenze ed evoluzioni e
continua tutt’oggi ad essere un protagonista della scena reggae
producendo album e, di tanto in tanto, esibendosi in concerti dal vivo a dispetto della sua avanzata età.

Lee Perry è una leggenda vivente del reggae. Ha prodotto e scritto alcuni dei primi 45 giri di Bob Marley & The Wailers ("Duppy Conqueror", "My Cup" ed altri singoli). Nel 1979 ha dato fuoco, in un momento di follia, al suo studio Black Ark, dove sono stati prodotti alcuni dei singoli più influenti dell’intero panorama discografico giamaicano (e non solo).

Adrian Sherwood (Londra, 1958) è un produttore discografico e beatmaker britannico, particolarmente conosciuto per il suo lavoro sulla musica dub e per i remix di artisti come Coldcut, Depeche Mode, The Woodentops, Primal Scream, Pop Will Eat Itself, Sinéad O’Connor, e Skinny Puppy.

20 marzo 2009. Auditorium FLOG – Via Mercati Michele, 24/B, 50139 Firenze (FI)‎ – 055 487145‎ – zona Poggetto

Apertura 21,30 – ingresso 13€/11€

info: 

Lee Perry — http://it.wikipedia.org/wiki/Lee_Perry

Adrian Sherwood — http://it.wikipedia.org/wiki/Adrian_Sherwood

MF Doom intervista su Wax Poetics # 31

February 18th, 2009 Comments off

MF Doom è un MC e produttore fra i piu’ interessanti e prolifici della scena hip hop degli ultimi 20 anni

 
il suo ultimo album "Born into This" ospita J Dilla (R.I.P.), Ghostface Killah e Raekwon (del Wu Tang Clan), Game e molti altri.
 
info:
—————————————————-
trascrizione di parte dell’intervista:
 
 
(*) http://www.stonesthrow.com/messageboard/in…36&#entry138436

You’re almost done with your new DOOM album. How do you know when you are finished working on something?
That’s a good question. I know when I’m done on the business side of it when someone checks in with me: "Is it done yet?" But it’s really never done. I turn in a version of it. The thing is, the music is always evolving.
If I have to answer that question with a straight answer, it’s when it feels like, "Okay, I got to let someone else hear it now. It’s just sounding too crazy." It starts to bubble out, almost like a baby bird being hatched, and then it turns into a fledgling. And then it gets out and leaves the nest.

Do you have people you can play stuff for, or is it you in the lab, and that’s it?
It’s me in the lab, pretty much. My engineer, Morgan Garcia, I got to shout him out. He is my other adult ears. Other than that, it’s my kids, my wife.

How do your kids influence you in terms of making music? Do they put you up on things they’re listening to?
That’s another good question. I got a son who’s in high school, I got a son who’s just going into kindergarten, and a daughter who’s just learning to walk. I get a wide range of reactions to guage. They are always involved in it at some level, whether it’s my daughter–’cause if she’s going to sleep, there’s only certain kinds of music that I can play to keep her calm. My son is the second in succession going up in age, five years old, and he loves music. When I’m programming, he’s always coming in the room; he wants to do my album. It’s to the point where I have to make him my assistant. So really, he’s my second set of ears, and he listens to it as it’s being made and sees the process. And I’ll just look over at him and guage his reactions. Certain things, he’ll be like, "Turn it off, that’s wack." And I’ll be like, "What do you know about ‘wack’?" I use the terminology without really hearing myself, and he’ll tap into it.
Then my oldest son, he’s in the eleventh grade. He was born around the time of Black Bastards. He’s been with me through the whole thing, seen all the records. He’s more laid-back; he’s not so up-front musically. He more draws and paints and stuff like that. But he enjoys music. Sometimes, I check his iPod out to see what he’s fucking with.
Between all three of the ages, that’s like my guage, really, as well as my own ear.

When you’re not listening to your own stuff, what kind of music are you checking out?
To tell you the truth, I be immersed in making this shit, making my music. But making music entails listening to music. So you have to have a really good source of music to be inspired to make music. The direction I’m taking this DOOM stuff right now–and forever–is fueled by artists that came before us, something that that was definitely changing part of the game.
My fuel is more like things that are reminiscent of my youth, like ’70s stuff, funk stuff. I look at what the year was, and then the shit might be right near my birthday or right near the time when my brother was born. It’s a time when you can remember what it felt like. If you listen to a record from back then, it still takes you right back. If I want to go to ’83, I’ll put on some Bambaata shit. If I want to go to ’71, Gil Scott-Heron and those dudes back then. Really, for me, there’s no more after 1993. It seems like it all turns to pop or bubblegum shit. The last couple records I remember listening to before that was De La’s 3 Feet High and Rising and all that, Nas’s Illmatic kinda shit… If I went a little bit into more detail with that kind of feel–Gang Starr, Primo, and them. But around then, it seems like mass production turned into something else, on the mainstream tip. You had to go a little deeper to find anything. Bobbito with the Cenubites album, and Wu-Tang, they were breaking barriers, but I can’t really remember anything after that.

You’ve been in it for so long. Do you still have a passion for making music and being in the game?
Yeah, I would say about twenty years, professionally. It’s crazy how twenty years can pass like that! As far as passion for the game, there’s times when I don’t even feel like fucking with this music shit. I’ll leave my equipment alone for months. Mainly beacuase there’s something going on, you know, regular-life shit. But it’s eternal. Something will trigger me to go back and hear something. I’ll go hear it, and it’ll open the Pandora’s box. Then I’m in it for another six months straight.
It’s something like breathing, like inhaling and exhaling. Time between pauses–while you’re inhaling, it’s like absorbing; exhaling is like putting shit out. It’s a process: you’ll have hiatuses, and then it all hits like "Pow." Plus, those [in between] times is like gathering info; the mind gets a chance to absorb things to express. People expect you to be expressing all the time, but life just don’t work like that. It’s like an inhaling and exhaling kind of thing. Everything breathes like that.

Is it frustrating to fit that life pattern into how the industry wants you to be? They want you to stay on schedule, they want you to be in this type of persona…

I don’t really let it bother me. I look at it like this–them cats need us to make dough. If they come up to a nigga who make music that’s the only person who can make that music, that’s why they came up to that nigga to make the music. Anytime anybody complain, or are maybe rushing [me], I look at it like they just don’t know how the process works. To them, it must look like it’s some kind of magic. Why else would they be paying you to do something that we do naturally and so free-flowing? I almost don’t wanna sell it; I wanna give it away. But we in America: we gotta eat, so I’ll sell it.

I’m wondering about the persona of DOOM as an entertainer or a perfomer, the mask and everything. Is that literally a way for you to put on your game face, to get in the zone for performing?

This is the fun part of the approach of the DOOM stuff. I’m not the dude at all, I am writing about a character. It’s a little bit based on my personality, but it’s definitely exaggerated. you know, if you gonna have a character, make him into his character. I made him into a super MC/supervillain. The MC side ain’t nothing but rhyming. I can do that all day. That part is super already.
There’s a whole bragging and boasting aspect to rhyming, like Busy Bee and all them. It’s really just talking shit. I look at it like "Wow, who can be the most talk-shit nigga now?" I kept that aspect–I feel like it’s naturally in rhyming–and exaggerated it, made it into the illest dude, bragging about the illest shit. When you make a character, you can have the character be able to do or be able to say anything. A lot of artists do that for real, they have their name on it, and the bragging and boasting pull a nigga in it for real. Now they have the mask of their own face on all day, every day, and have to keep their persona–you can never really grow out of it or change.
It starts getting weird. What would you trade for your own life experiences? How much money? Can they buy you? Could anybody buy you? Is your price a certain thing? I like to separate my situation–my home life and family life. I draw inspiration from it. But the people I know in the neighborhood don’t even know what I do. I’m just a dude who lives right there, or the dude down the street that comes into the store. I need my life. I’m not trying to change my life for this rap shit, for real. Definitely not. Come on, not when you can do both. I enjoy music, make music, I make money with this music, live off music, share music,but you still need to have your life.
People expect certain shit. That’s something you have to kinda consider in this entertainment field. You probably don’t realize it at first. When we first got into it, with KMD, that’s who we was, straight up. But then after that shit was over with, and KMD had no deal no more, and we’re walking the streets of Manhattan, it turns into a lot of pressure. So I figured out a way where, all right, this time, I’m doing it, but it’s going to be done like how they do it in the movies. They’ll have a character in it, but the character is spawned from imagination. As wild as it may be, if you’re a writer, you can go there and make it real.
I like to stick to the writing aspect of it and write these scripts, these screenplays. The character can do anything. Regular MCs can’t really do that. It’s like, limitational. Them niggas good in their own right, but I’m just coming at it from a different angle.

The funny thing is, many people, from fans to press, et cetera, seem to have bought the story to the point where they forget you’re not actually a supervillain.

Oh yeah. They gotta remember, it’s a character. Characters do all that shit. The thing is, they’re speaking to me like they’re speaking to the character, but that’s not necessarily the case. It’s almost like Stephen Colbert. This is a new example that I happened to come across. I used to watch that shit, and it damn near pissed me off, like, "How the fuck he gonna say that?" But he was in character. After I found that out–I think I must have read an interview or seen him somewhere–I was like, "oh, the nigga in character. Damn, that shit’s ill." I think I may have seen him speaking about it, about himself, and his home life. Something where I was like, "Cool, I’m not the only one doing this." For people who are attracted to hip-hop music, it’s our job to spark their thoughts, to make them say, "What the fuck is he saying that for? Why is he doing that?" Then, when they find out it’s just a character, it’s a mind-opening thing.
Plus, it’s like, damn, the temptation to just fuck with people’s heads like that, I just can’t resist. It just goes to show, a lot of people need to be snapped out of it.

How much of the talk on the Internet are you aware of? People really get caught up in the DOOM character.

That’s crazy, B. That’s good. I guess the character is a success.

There are claims of imposter DOOMs wearing the mask and doing shows for you.
That’s interesting. I’ll say this: I’ve been rhyming on the microphone professionally for twenty years, out there when [Big Daddy] Kane was there. I was doing big-ass stadiums when Pac was in the Digital Underground–Latifah, 3rd Bass, De La, KMD. On the microphone, for hours every night, busting my ass since I was, like, eighteen. It never ended. If it wasn’t the stage, it was on the street, battling or whatever in the ’90s when there were no deals. And I’m still doin’ it, to the point where now I’m thirty-seven.
Last year, I did some show, wrecked it, girls climbing up onstage and shit–that was the first time that happened–but we was rocking, right?Somebody from the label was going to be there. I was like, "Cool, he saw the show, and it was wrecked." Next couple of days, I speak to him, and he was like, "Good show, but a lot of people are saying it wasn’t you!" I’m like, "All right, every show I do, motherfuckers start saying that: ‘Was it really him?’" I lost fifty-nine pounds last year on some healthy shit, and I’m out there busting my ass, and niggas is still saying that shit? Niggas is caught up in the character part. But–I will say this: you never know what to expect. I’ll fuck around and do some shit like that, just to fuck around with a nigga head.
‘Cause I’m like this: it’s music; I’m doing the shows; the stage is my canvas; I’ll put whatever up there for the visible eye. But it’s music, for listening to. Looking at it has nothing to do with what it sounds like. A blind person could be at the show and feel it clearly, but don’t see nothing of it. Don’t matter what the shit look like. Look, was niggas rockin’ or was niggas rockin’? See, I’m snapping niggas out of it. I might change my mind and want to retire from that part. I’m not sweating my ass out onstage no more. I’ve spit hundreds of thousands of lyrics, time and time again. Maybe I’ll take a break, or maybe never come back. That’s my choosing as an artist. And it’s their choosing to criticize it too. But that’s my other job–to snap niggas out of it.

[*Buy the magazine to read about DOOM on his beat-making processes.]  

Categories: beat making, emceeing Tags:

DJ Muggs making beats at his home studio (1993 video)

February 18th, 2009 Comments off
Dj Muggs getting busy making beats on his SP 1200, in 1993, at his home in the Southgate area of Southern Cali.

Categories: beat making Tags:

No Tricks DJ Battle 2008 – feat. DJ Gruff, DJ Uiui, Mitsu

February 18th, 2009 Comments off
2008/07/05
No Tricks DJ Battle 2008

@ Vestax Store Paco (Japan)
http://www.shop-online.jp/ScratchiZm
 
Barre ovunque…

info: http://www.soundactive.jp/djbattle090214.html

Categories: deejaying Tags: